L’Economico di Senofonte contiene un interessante trattato sulla vita matrimoniale: al centro di questo trattato si colloca la figura della moglie di Iscomaco, così come viene delineata da quanto quest’ultimo narra a Socrate. Una figura in parte innovativa, in quanto viene associata alla gestione dell’oikos come responsabile di quanto si svolge all’interno della casa: un ruolo diverso da quello del marito, che si occupa e dirige ciò che si svolge all’esterno: i compiti di moglie e marito risultano quindi diversi ma (...) complementari. Questa differenza di attitudini e quindi di ruoli è presentata come voluta sia dalla divinità, sia dalla natura sia dalla consuetudine. La moglie di Iscomaco viene quindi a configurarsi come una collaboratrice e una compagna per il marito. Tuttavia questa moglie non intrattiene con il marito una relazione paritaria: infatti gestisce attività e persone all’interno della casa secondo le direttive impartite dal marito; anche nella sfera della vita sessuale deve adeguarsi ai desideri e alle convinzioni di Iscomaco; il suo stesso status di moglie sarà mantenuto soltanto se lei risponderà alle sue aspettative: paradossalmente la sua stessa autonomia è in realtà eterodiretta. Se pure può considerarsi una “maîtresse de la maison”, tuttavia, come ha sottolineato con una formula efficacissima Foucault, si tratta comunque di una “maîtresse obéissante de la maison”. (shrink)

Xenophon’s Oeconomicusincludes an interesting treatise on married life, at the hearth of which is the figure of Ischomachus’ wife, such as she is described by Ischomachus’ words to Socrates. It is an almost innovative figure, because she shares the management of the oikosas being responsible for what is carried out within the oikos: her role is different from her husband’s, who runs and manages what is carried out outside of the oikos. Therefore husband’s and wife’s tasks are different, though complementary. (...) The difference in inclinations and, therefore, roles is shown as established by god, nature and custom. So Ischomachus’ wife is a collaborator and companion of her husband, even though she does not have an equal relation with her him: she manages the activities and people within the oikosaccording to her husband’s directives. Also in the sphere of sexual life she has to conform to his desires and convictions; her own status as a wife will be preserved only if she meets his expectations: paradoxically her own autonomy is other-directed. Even if she may be considered a “maîtresse de la maison”, nevertheless, as Foucault outlined with a very incisive expression, she is anyway the “maîtresse obéissante de la maison”. (shrink)

This paper focuses on Leibniz’s engagement with Thomas Hobbes’s political anthropology in the Mainz-period writings, and demonstrates that Leibniz tried to construct an alternative to the English philosopher by conceiving of a physically- and ontologically-grounded psychology of actions. I provide textual evidence of this attempt, and account for Leibniz’s rejection of Hobbes’s political theory and anthropological assumptions. In doing so, I refer to diverse aspects of Leibniz’s work, thereby highlighting his aspiration to congruity and consistency between different areas of investigation. (...) Furthermore, Leibniz’s political writings and letters will reveal another—sometimes neglected—aspect of the issue: his concern to defend and legitimize the existence of pluralist and collective constitutional political systems like the Holy Roman Empire by providing the theoretical ground of their ability to last. (shrink)

Popper a passé sa licence sous la direction de Bühler en 1928. Affirmer que Popper a été profondément influencé, non seulement par la théorie du langage de Bühler, mais aussi par sa psychologie, ne correspond pas à l’opinion courante. Le deuxième chapitre de Die beiden Grundprobleme der Erkenntis montre clairement que Karl Bühler a représenté l’un des points de départ les plus importants de la théorie de l’esprit de Popper. Selon Popper, dans l’épistémologie de Carnap, il y a un « (...) préjudice inductif » : afin de rétablir une opinion neutre et adopter une épistémologie qui soit indépendante de la psychologie, il est nécessaire de démontrer que, dans la psychologie aussi, le déductivisme est possible et concevable. Popper donne des exemples très clairs de psychologie déductive et cite la théorie de Kant, Johannes Mueller, l’École Wuerzburg et Ernst Mach. Le choix de tels exemples est significatif afin de comprendre la nature de la formation de Popper. En particulier, il est important de souligner l’absence de la « psychologie de la Gestalt » ou de ses penseurs, tels que Wertheimer, Koehler, Koffka, etc. En effet, Bühler s’opposait fortement à la psychologie de la Gestalt de l’École Wertheimer et, entre l’Institut Bühler de Vienne et les psychologues de la Gestalt à Berlin, il y avait une véritable rivalité. Popper — qui est normalement considéré, de façon simpliste, comme étant « un psychologue gestaltiste » — a tout à fait adopté l’idée de Bühler.Popper graduated under Bühler's direction in 1928. It's not part of the common view to say that Popper was strongly influenced, not only by Bühler's theory of language, but also by his psychology. The second chapter of Die beiden Grundprobleme der Erkenntnis shows clearly that one of the fundamental starting points for Popper's theory of mind was Karl Bühler. According to Popper, an “inductive prejudice” is contained in Carnap's epistemology : to restore a neutral point of view and to adopt an epistemology independent of psychology, it is necessary to show that, within the psychology, the deductivism is also possible, or thinkable. Popper provides some clear examples of deductive psychology and cites Kant's outlook, Johannes Mueller, the Wuerzburg's school and Ernst Mach. The choice of such examples is very important for the understanding of the nature of Popper's training. It is significant, in particular, the absence of the Gestaltpsychology or of its exponents, such as Wertheimer, Koehler, Koffka etc. In fact, Bühler was in sharp contrast with the Gestaltpsychology of Wertheimer's school and between the Bühler's Vienna Institute and the Berlin Gestalt -psychologists there was a real rivalry. Popper — who by the standard view is simplistically considered “a gestaltist psychologist” — adopted completely the Bühler's point of view. (shrink)

This paper studies the effects of social comparison on risk taking behavior. In our theoretical framework, decision makers evaluate the consequences of their choices relative to both their own and their peers’ conditions. We test experimentally whether the position in the social ranking affects risk attitudes. Subjects interact in a simulated workplace environment where they perform a work task, receive possibly different wages, and then undertake a risky decision that may produce an extra gain. We find that social comparison matters (...) for risk attitudes. Subjects are more risk averse in the presence of small social gain than social loss. In addition, risk aversion is decreasing in the size of the social gain. (shrink)

Critical feminist studies in religion seek to articulate a theoretical analytics not in terms of gender and feminine identity but in socio-political terms. They understand wo/men as socio-political subject-citizens who are producing cultural knowledges and religious discourses in situations of domination and alienation.

Franz Rosenzweig devoted particular attention to the problem of individuality in Hermann Cohen’s philosophy. He writes that, in comparison with the individuality of the man of religion, “the human being about which aesthetics knew [...] fades now in all its aesthetic individuality to a ‘mere type’”. This statement is actually based on Cohen’s writings: in Ästhetik des reinen Gefühls, Cohen explicitly maintains that the human being that is the object of artistic representation is not a type, but rather an individual. (...) Just three years later, however, in his first book about philosophy of religion, Der Begriff der Religion im System der Philosophie, Cohen states that the human being that is represented by art is not really an individual; only the man of religion is really individual; the human being represented by art is merely a type. In this paper my aim is to argue for the thesis that these opposite statements belong to different points of view. From an aesthetic point of view the human being represented by art has to be considered as truly individual, but the systematic overview adopted in Der Begriff der Religion can teach us that the individuality of the human being represented by art can’t be maintained from a different point of view than the aesthetic one. (shrink)

Time and time consciousness have always been for Edmund Husserl a kind of torment, a stimulus, an enigma, an 'ultimate and true absolute', as he wrote in the _Ideen_. This paper aims to show that Husserl addressed this topic, after the _Vorlesungen_, especially in his last published book _Erfahrung und Urteil_, presenting a solution that introduces a possible new perspective on thought. The conceptual core of this solution is found in the complex and fascinating analysis of passive temporal synthesis. Consciousness, (...) temporality and perception become the terms of multiple equations in their fundamental, mobile and unguaranteed basis, in a way that challenges the centuries-old concept of the central unity of the constant ego. In the middle of dark times, aware of his 'discoveries' of the 1930s such as pre-predictivity, _Lebenswelt_, anonymous and functioning intentionality, and always on behalf of the new rationalism, this also seems to be one of the most important final responses given by Husserl to Heidegger, as well as one of his most fruitful legacies and challenges to further thinking. (shrink)

Responsive to the signs of the Latin American situation, liberation theology suggests new interpretations of the symbols of faith and calls for a radical transformation of man and society.

Because the current crisis of scriptural authority is not simply a crisis of Scriptures but also a crisis of modernity, any understanding of that crisis must look to our present intellectual environment as much as it does to the way Scriptures are viewed.

A central topic in Cohen’s Ästhetik des reinen Gefühls is the artistic representation of the human figure; in Cohen’s reflections on this topic, the nude has a fundamental importance. The first aim of this paper is to examine Cohen’s theses on the role of the nude in figurative arts, as well as his comments about sculptural and pictorial works representing nude figures. This will bring us to take into consideration Cohen’s judgement about eroticism in art. Some brief considerations about the (...) nude in contemporary art, and above all in photography, will be expressed in order to evaluate the topicality of Cohen’s aesthetics concerning this theme. These considerations, however, will make it necessary to rethink Cohen’s judgement regarding eroticism in art. (shrink)

“The Messiah [...] is the source of all religious art.” This statement, which we find in Cohen’s Über den ästhetischen Wert unserer religiösen Bildung, seems to be not fully consistent with the whole of Cohen’s aesthetics and with Cohen’s thought about the possibility of art having religious themes. In order to explain this statement and Cohen’s perspective about Messianism in art, in §§ 1-3 I examine Cohen’s reflections about this topic in his main works about art and religion; in § (...) 4 I maintain that the goal of this statement is to underline a difference between Jewish and Christian religious art. Finally, in § 5, I offer a short examination of some 20th or 21th century artworks that can be compared to Cohen’s views about Messianism in art: namely, Marc Chagall’s crucifixions, Gustav Mahler’s 4th symphony, and Michelangelo Pistoletto’s Terzo Paradiso. (shrink)

Jewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?